The image of today is a picture posted by RICHARD PRINCE on July 8, 2017 on his twitter. It is a reshot by PRINCE from a photography by DAVID YOUNG/DPA that has been published by the New York Times on July 8, 2017.

Rephotography is a technique for stealing (pirating) already existing images, simulating rather than copying them, “managing” rather than quoting them, re-producing their effect and look as naturally as they had been produced when they first appeared. A resemblance more than a reproduction, a rephotograph is essentially an appropriation of what’s already real about an existing image and an attempt to add on or additionalize this reality onto something more real, a virtuoso real, a reality that has the chances of looking real, but a reality that doesn’t have any chances of being real. The technique is a physical activity which locates an individual behind a camera, a place from which the individual can view nothing but the collected image, a place that affords the opportunity to view exactly how the audience will eventually see the image as an object and a location from which it is possible for an individual to identify him or herself as much as an audience as an author. – excerpt from RICHARD PRINCE, Practising Without A Licence, 1977

Is the act of rephotographing already existing images still a relevant theft?

ROBERT GROSVENOR‘s work can exist in a museum. Or on a driveway. Or in a barn. Or whatever. In other words, GROSVENOR‘s sculptures seem to still function as real things in the world, and not as some extraneous objects to be placed on a pedestal. Similarly, many of the materials he is using are familiar, industrial and found. GROSVENOR‘s arrangements display singular yet familiar structures and forms while emphasizing the use-value of materials as well as the traces of time on their surfaces.

Maccarone in Los Angeles is currently presenting an exhibition by ROBERT GROSVENOR. This solo exhibition is on view until September 30, 2017.

This image shows one of the works by JIŘÍ KOVANDA that are currently on view at the project space Lulu in Mexico.

JIŘÍ KOVANDA is a Czech artist who made a name for himself with his performances and actions in the 1970s and 1980s. Beside them KOVANDA creates collages, paintings and objects with the aim to differ from the ordinary everyday life in very subtle ways, the more subtle it is, the better, as if nothing is going on as KOVANDA told in a interview with ADAM BUDAK.

Yung Chong BaDboI is a series of comic strip that portrays the human condition through deceptively simple lines and yellow birds. Every now and then Yung Chong’s birds will be featured on wfw, and will delve as usual into the realms of social anxiety, depression, relationships, and sleeplessness.

When arriving in Switzerland in 2014, ISAAC CONTRERAS decided to let grow his hair. Three years later, in February 2017 during the snow moon, he cut it all off marking an end to a long-term performative process.

The process was punctuated by unannounced actions when I opened my hair, most notably in social gatherings or art openings. I was trying to produce this act as an event and frequently I played excessively with my hair whenever was a camera to try to “catch” a picture. To look for images, I sent an email to people I met during this time. Friends and co-workers that somehow were there while this thing was happening. Since this long term action was naturally happening in a myriad of places, the images are really diverse and far from a normative neutral white background. – as told by ISAAC CONTRERAS for we find wildness

His hair, collected in February, have been turned into a series of miniature sculptures that has been presented at his graduation exhibition at the University of Art and Design of Geneva. The sculptures which look like tiny hairdo helmets, were complemented by portraits of the artist with various hairstyles.

This body of work entitled The Creeps challenges the notion of ‘being’. ISAAC CONTRERAS captured a moment in time and then removed himself from that moment. That is to say that after he cut off his hair, CONTRERAS was no longer a part of the moment but a member of the audience. A public that is now beseting with the question: What does it mean to ‘be present’ or to ‘be there’?

Please note that CADY NOLAND’s work is currently part of a presentation at Mamco in Geneva along with sculptures and installations by LAURIE PARSONS and FELIX-GONZALEZ-TORRES. Their works are on view until September 10, 2017.

In the premises of the Department of Absolute Knowledge all the small upper windows were open, because the smell of Professor Vybegallo’s herring heads was seeping in. There was snow heaped up on the windowsills and there were dark puddles under the radiators of the steam central heating system. I closed the windows and walked between the virginally clean desks of the department’s staff members. Standing on the desks were brand-new ink sets that had never seen ink, but there were cigarette butts spilling out of the inkwells. This was a strange department. Its motto was: ‘The cognition of infinity requires an infinite amount of time.’ I could hardly dispute that assertion, but the staff drew an unexpected conclusion from it: ‘And therefore it makes no difference whether you work or not.